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un·com·fort·a·ble (n-kmfr-t-bl, -kmft-) adj. 1. Experiencing physical discomfort. 2. Ill at ease; uneasy. 3. Causing anxiety; disquieting. Alison Colquhoun, Lucy Green, Haley McCall, Alicia McCarty, Rafiya Naim, Natsumi Oba, Kim Wirt. Artist Statement.
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un·com·fort·a·ble(n-kmfr-t-bl, -kmft-)adj.1. Experiencing physical discomfort.2. Ill at ease; uneasy.3. Causing anxiety; disquieting. Alison Colquhoun, Lucy Green, Haley McCall, Alicia McCarty, Rafiya Naim, Natsumi Oba, Kim Wirt
Artist Statement • Our project started out a little differently, with some of the works made specifically for this project and others not. We wanted to create a gallery space in the most unlikely of places and originally came up with the idea of a “fun house”, where people would be forced to confront an uncomfortable situation. However, due to zoning restrictions and fear of a too-humorous reception that is all to often paired with uncomfortable material, we decided to move our exhibition into the library, in a space where students would have a hard time avoiding such a heavily trafficked and central location. Our idea proved to be successful from day one when the head librarian was immediately upset, hostile, and unnerved. Although we do admit that part of this shock may have been due to our convenient omitting of the nature of the students’ work.
The response to this exhibition was surprising even to us. On numerous occasions we witnessed groups of up to fifteen students standing in front of the artwork, either reading the poem or doing a double take after catching a glimpse of the vibrator and the flailing limbs. And several times people came up to us asking who the naked girl was. We finally got through to this campus in terms of forcing people to interact both with art in passing but also in later reflection. It was impossible to walk by our exhibit without doing a double take. • We addressed the theme of “uncomfortable” in terms of subject matter, boundaries, place, and unexpected contrasts. In and of itself, a painting of a vibrator hanging above the “Boatwright Memorial Library” sign brought about feelings of anxiety and uneasiness, but displaying the actual still life next to the canvas served to heighten people’s perceptions and reactions. In a similar fashion, the hanging of the life-size nude right next to the staircase and directly in a busy path through the library created a situation where the passerby could reflect on the image of the nude itself, but in addition, the distant viewer could also experience the sight of both the nude image and the possible model standing right next to it. The exhibition pushed boundaries regarding political, sexual, and some would call offensive subject matter and medium. • The comments we received showed a strong interaction with the viewer and hit upon the theme of uncomfortableness within the art, the viewer’s response, and the gallery space as a whole, thus making for a successful show.
“Limb 2 Limb” “Sure, just put pictures of naked people rolling around in bed in the library. I don’t need to study or anything. Won’t be a distraction at all.”
“Limb 2 Limb” • By manipulating and playing with the positions of limbs within the image, I wanted to create a sexually suggestive situation that relied on the viewer to decide what was really going on in the image. They can perceive the compositions as sexual, disturbing, funny, disgusting, and confusing as the want to. These images force the viewer to do a double take, because at first glance the perception is different than after further inspection of the image. Having these suggestive images of flesh and scuffling sheets displayed in the library not only leaves the viewers slightly uncomfortable but questions the appropriateness of the location for exhibition.
“Sophie and me” “It was really weird and delightfully disturbing at the same time.” “The poem’s pretty BADASS.” “I like the angles and shapes formed by the actual pieces of paper in the poem. The line, “Weak, I collapse” (just like it) is really intense!”
“Sophie and me” My work deals with first with appropriation. In a Sophie Calle sort of fashion I aim to insert my autobiographical experiences into the realm of the other, here, in the case of another artist’s work. Whether it be a Calle’s combination of text and image or Old’s words, all too powerful on their own, I have adapted their originals to my memories, voice, and image. In such a personal exposure, I hope to transcend the space between the piece and the viewer’s own reading, interaction, and response to such. I aim for the viewer to read my work with mirrored eyes forcing themselves, despite the bizarre specifics, to stir and question those deep-rooted emotions in themselves, which inextricably link them to my own personal experience and expression.
“The Family Jewels” “I think this is hilarious. Thank you.” “I am uncomfortable with sex objects in the library. Weird.”
“The Family Jewels” • For my final project, I wanted to be able to paint with oils to incorporate my chosen media in my Advanced Studio course. I realized that my work from the Advanced Studio course was very mundane, and after discussing my feelings regarding my current work with my peers I wanted to push myself in terms of my chosen subject matter to paint. I decided to introduce an out of the ordinary subject into my still life paintings to add a twist and create more interest not only for the viewers, but for myself as well. Painting a vibrator was a very awkward situation to envision, which aided in the project’s assignment – Uncomfortable. Additionally, I decided to use a sex toy element because distant relatives of mine are in that particular retail industry, which can often instigate uncomfortable conversations.
“This project is really bold and a great way to express opinions! Nice job!”
Through my work I am trying to convey social problems in the world in a way that is intended to make the viewer uncomfortable. Using simple, colorful backgrounds I want the focus of the work to be on the subject. The background allows me to juxtapose the issue of my subject with a seemingly innocuous environment. My choice of display is not an attempt at subtlety and I even make direct comparisons between certain local environments in one of my works. The piece entitled "Running" is a contrast between children playing a war game in Palestine and the innocence of American children playing soccer. Overall, I want to expose social problems around the world in a non-threatening way while keeping a traditional aesthetic feel to the work.
“Kate” “I want to meet Kate!” “I like it, it’s better than the crappy paint on the walls.”
“Kate” • A female nude figure is something that makes a lot of people feel uncomfortable on this campus. However, the beauty of a figure should be more appreciated, and therefore should make us feel more comfortable. The art of expression should be more socially acceptable. By displaying my life size figure drawing on the same height level as the viewers, this issue should have been addressed.
“Intimate Cosmology” “This is like library meets “hip-internet cafe.” This is really fun. I hope you put the paintings all over the library.”
“Intimate Cosmology” • My series “Intimate Cosmology” was inspired by the depth and energy of satellite photographs taken from space. I focused my paintings on a deconstruction of color, form and shape while still maintaining the powerful characteristics of space. I chose not to have my paintings cause overt discomfort, and instead decided to use titles that could possibly cause discomfort. I thought it would be interesting to see if I could make images that in no way had a sexual undertone, be seen sexually by the viewer as a result of merely changing the title. Thus, I titled my pieces Deep Throat, Sixty-Nine, Fuck and Turned On. • Though these titles are meant to be sexual in essence, the subtly and double entendre within them still leaves room for the viewer to interpret the sexuality on his or her own. Each title can stand alone in a non-sexual sentence (such as, “The number sixty-nine,” or “I turned on the light”), but—interestingly—is most likely not taken to be so innocent. This brings to mind several questions: Are the paintings interpreted sexually because it is framed by the title of the entire installation (“un-com-fort-a-ble”)? Or the pieces within the installation (juxtaposed against The Family Jewels)? Even more personal, do the viewers simply interpret the level of sexuality within the piece on their own? • Regardless of the answers to these questions, the most appealing part—and essence of the installation—is whether or not the viewers feel uncomfortable from a “sexually” titled piece, even if there is no obvious sexuality in the painting.
